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After the Restoration of the monarchy in 1660, Dutch influence on the arts in England was very strong, and for about thirty years floral decoration including cut tulips and other flowers in vases was very popular. Delftware potters in London responded to this fashion by producing large dishes, known to collectors as 'chargers', decorated either with tulips growing from a small mound and spreading over the whole surface of the dish, or arranged in a vase, and usually having round the edge a continues series of blue, or sometimes yellow dashes. This is the earliest dated example decorated with tulips.  Most of these chargers are of a deep bowl-like form standing on a footring, but this exceptionally large example has a wide flat centre with shallow sides and a broad rim. The arrangement of the pomegranates and parti-coloured leaves in panels separated by blue trellis pattern suggests that the design was influenced by Chinese blue and white dishes of the Wanli period (1573-1619), but the  fruit and leaves were probably derived from dishes imported from Italy or the Netherlands. Pomegranates was auspicious because they were symbols of fertility, and in Christian art, of the immortality of the soul. \n\nThe initials WS on the front may be those of the pot-painter, because they also appear on the back. 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The reverse is coated with pale slip and lead-glazed greenish-yellow. Circular with curved sides, standing on a footring. The front is decorated  with Adam and Eve standing on either side of the Tree of Knowledge, with a serpent twined around its trunk and lowest branch. On each side there are small stylized trees and in the foreground grass with yellow patches. Round the outer edge there are two narrow blue circles and narrowly spaced slantng blue dashes. 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